Notes of Interest

Course Descriptions
The following course descriptions have been written by individual instructors
to provide more detailed information on specific section sthan that found
in the General Catalog. When individual descriptions are not available,
the General Catalog descriptions [in brackets] are used. (Although we try
to have as accurate and complete information as possible, this schedule remains
subject to change.)

A class to introduce you to the major theoretical positions taken
towards literature in the western tradition, beginning with Plato and ending
with Nietzsche. And because literary theory exists (ostensibly) to explain
and deepen the reading of literature, we will also be reading a (few) literary
texts as well-short lyric poems, along with Hamlet. Texts:
Hazard Adams, ed., Critical Theory Since Plato, rev. ed.; Shakespeare,
Hamlet.

304AHistory of Literary Criticism & Theory IIMW 1:30-3:20M. Griffith

English 304 is an Introduction to Literary Theory, a subject thought
by some to be impossibly esoteric and completely without interest for "true"
students of literature. In this version of the course we will try to understand
why these ideas are short-sighted, and in the process come to know some of
the characteristic issues and methods of recent Theory. There will be a great
deal of writing in the course because one can't "learn" Theory by watching
others do it. Feel free to contact me for more information.Texts: Stanley
Fish, Doing What Comes Naturally; Frank Lentricchia & Thomas McLaughlin,
Critical Terms for Literary Study, 2nd ed.; Anita Desai, Clear
Light of Day; Jane Kramer, Whose Art Is It?

305ATheories of the ImaginationTTh 1:30-3:20Searle

This course will examine the concept of the imagination as manifest
in three contexts: philosophy, poetry, and music. In addition to papers,
the course will require an individual project and participation in a group,
studying a body of imaginative work. (Meets w. C LIT 396.) Texts: Immanuel
Kant, Critique of Judgment; William Blake, Collected Poetry and
Prose; William Carlos Williams, Imaginations; photocopied course
packet; musical selections available in OUGL (Meets with C LIT 396)

307ACultural Studies: Literature & the AgeMW 9:30-11:20Fuchs

Textual Transactions: Merchants, Pirates, and Adventurers in
Renaissance England. This course will explore the role of these often
ambiguous figures in the culture of the period. We will read widely, from
canonical works such as Shakespeare's Merchant of Venice, to pamphlets
denouncing piracy, to pageants that celebrate the merchants of London. As
we read, we will consider how the representations of these characters reflect
England's increasing sense of itself as a merchant nation. How are commercial
and aristocratic values reconciled (or not) in these texts? What do the texts
tell us about England's relations with other states and other peoples? And,
finally, how can we evaluate the cultural effects of the texts we analyze?
(Will meet Pd. 2 requirement for the English major.)Texts: Hakluyt, Voyages and Discoveries; Shakespeare,
The Merchant of Venice; Jonson, Volpone, Marlowe, The
Jew of Malta; photocopied course packet.

310AThe Bible as LiteratureDaily 10:30J. Griffith

A rapid study of readings taken from both the Old and New Testaments,
focusing mainly on those parts of the Bible with the most "literary" interest--narratives,
poems and philosophy. Students will be expected to attend class regularly
and take part in open discussion of those assignments. Written work will
consist entirely of a series of between five and ten in-class essays, done
in response to study questions handed out in advance. Text: Metzger
& Murphy, eds., The New Oxford Annotated Bible with the Apocrypha,
Revised Standard Versions.

311AModern Jewish Literature in TranslationDaily 12:30Alexander

This course deals with the literary interpretation of modern Jewish
experience, which includes the break-up of a cohesive religious culture,
mass migrations of unprecedented magnitude, the destruction of European Jewry
by National Socialism during World War II, and the effort to reestablish
a national existence in the Jewish homeland of Israel. Readings include such
classic Yiddish authors as Sholom Aleichem and I. L. Peretz, and more recent
Yiddish writers, among them I. B. Singer and Jacob Glatstein. At least two
writers who did not write in Jewish languages, the Czech Franz Kafka and
the Italian Primo Levi, will also be studied. Among the Israeli authors in
the syllabus are Agnon, Hazaz, and Appelfeld. Considerable attention will
also be given to the play of competing ideas that form the background of
the imaginative literature. Texts: Howe and Greenberg, Treasure
of Yiddish Stories; Appelfeld, Badenheim 1939; Levi, Survival
in Auschwitz; Hellor, ed., The Basic Kafka.

316ALiterature of Developing NationsMW 9:30-11:20Khanna

Fifty Years of Indian Anglophone Writing. This course
will be about literature written in English by writers originating from the
Indian subcontinent. We will begin with some readings about the status of
writing in English both before and after the subcontinent achieved independence
from the British in 1947. Having considered some material on the teaching
of British literature in India, as well as the status of commonwealth and
postcolonial literature, we will read novels and some poetry (and a novel
about poetry) from post-independence anglophone writers over the last fifty
years. Texts include fiction and poetry by Salman Rushdiek, Arundhati Roy,
Rohinton Mistry, Agha Shahid Ali, Anita Desai, V. S. Naipaul, Amitav Ghosh,
and Sara Suleri. Texts: Mistry, Such a Long Journey; Naipaul,
Mimic Men; Roy, The God of Small Things; Ghosh, The
Circle of Reason; Desai, In Custody; Suleri, Meatless Days.

316BLiterature of Developing NationsTTh 3:30-5:20Zinyemba(sln: 7990)

History as Enemy: The Painful Search for Zimbabwean Identity.
Africa experienced a renaissance in the 1960s that opened the continent's
arts, culture, history and emergent literature to the world. Beginning with
Ghana in 1957, by 1967 most British colonies in Africa, with the exception
of Rhodesia (now Zimbabwe) and South Africa, had become independent. A new
African emerged with the new Africa-assured, confident and eager to define
a new world and identity as informed by both past and present. The first
African novel in English, Chinua Achebe's Things Fall Apart (1959),
set the tone for the new written literatures emerging from Africa. Achebe
declared that his aim was to "teach" his people that they had a past, a history
and "did not hear about culture for the first time from Europeans acting
on God's behalf," as they had a viable culture and philosophy of their own.
African identity was thus explored, analyzed, defined. During the years that
followed, African writers from all over the continent engaged in great debates
on the state of writing on the continent, raising fundamental issues such
as what should an African writer write about? Who should the African writer
write for? In what language? In what form? etc.

While Africa was going through this most exciting re-definition
of itself, Rhodesia (which became known as Zimbabwe at independence in 1980)
was conspicuous by its absence. In 1965 the minority settler white government
unilaterally declared its independence from Britain, African nationalists
took up arms and began a 15-year-long guerilla war, Britain succeeded in
getting the United Nations to impose comprehensive economic sanctions against
the rebel colony, and Rhodesia was isolated by the world and, like a closed
wound, began to fester from within. White settler writers continued to write
as if their setting was Arcadian England of the English Romantics. Early
African writers of the 1960s wrote autobiographies thinly disguised as "histories"
or "fiction" and as the despair in the land deepened, writers of the 1970s
wrote works which carried that despair and disillusionment. Later, Zimbabwean
writers were to be referred to as "the lost race," and Zimbabwean literature
has always been out of step with the general movement of ideas on the African
continent. The search for Zimbabwean identity as seen through its literature
reflects a tortured period of mind in the 1960s and 1970s, a brief moment
of brightness in the early 1980s, and a relapse into disillusionment almost
immediately thereafter.

Zimbabwean writers do not share a common voice. Rather, they represent
individual voices of "teachers, preachers, non-believers," and others who
are not easy to categorize. This course will explore these various voices
against the informing ideas that swept across Africa at the time of their
writing and that immediately impacted on their world in Rhodesia, in Zimbabwe,
and account for the strife in the efforts at definition, identity-formation
and divided loyalties (including a strong sense of loyalty to the self).

Professor Ranga Zinyemba is visiting this winter from the University
of Zimbabwe. (Class added after Time Schedule printed; meets with CHID 498E;
sln:7990.)

The point of this course is not only to study the early comedies,
tragedies and histories of Shakespeare, but to figure out their conjunction;
that is, how drama in one category relates to the others. (Majors only, Registration
Period 1.) Texts: Shakespeare, Richard II; 1 Henry IV; Twelfth
Night; Midsummer Night's Dream; Julius Caesar; Hamlet.

324AShakespeare after 1603MW 10:30-12:20Frey

Study of Measure for Measure, King Lear, Macabeth, The Tempest,
and perhaps other works, through reading of primary and secondary texts and
through lecture, discussion, essays, texts, and performance in class by all
class members in acting groups. (Majors only, Registration Period 1.) Text:
Bevington, ed., The Complete Works of Shakespeare.

324BShakespeare after 1603Daily 12:30Dunlop

Three plays (one tragedy, one political piece, one strange and wonderful
romance) by a Shakespeare who has become not only a seasoned and versatile
playwright but also adept at making the resources of poetic language serve
a dramatic function. Therefore, a lot of close reading, and as much "performance"
as we can manage. Students may choose between writing papers or taking (midterm
and final) examinations. (Majors only, Registration Period 1.) Texts:
Shakespeare, Macbeth; Coriolanus; The Winter's Tale.

325AEnglish Literature: The Late RenaissanceMW 1:30-3:20Fuchs

Literary Worlds of the Early Seventeenth Century. This
course explores the transformation of English literature in the period from
the Elizabethan models, closely based on courtly forms, to the representation
of multiple spaces in the culture. How do theatrical forms such as the Jacobean
masque contrast to the "city comedy" of an emerging bourgeoisie? In the
poetry of the period, how are earlier Petrarchan models transformed to incorporate
new scientific and religious motifs? Some of the larger questions we will
be discussing include: How does the role of an author develop and change
in the period, given the first stirrings of commercial authorship? What are
the connections between gender and nation, given how these literary texts
define the England of their time? Finally, what can the increasing recourse
to images of trade and expansionism tell us about the "literary worlds" we
are exploring? (Majors only, Registration Period 1.) Texts: Shakespeare,
A Winter's Tale; Jonson, The Alchemist; Complete Poems;
Middleton/Dekker, The Roaring Girl; Donne, Selected Poetry;
Herbert, English Poems; Bacon, Essays.

326AMiltonTTh 1:30-3:20van den Berg

English literature, wrote T.S. Eliot, could only afford one Milton.
We'll consider why that might be so. We'll read and discuss his impassioned
poetry and prose, seeing how he shaped the politics and literature of his
time. He thought in terms of oppositions: good and evil, destruction and
creation, time and eternity, soul and body, freedom and service. He valued
introspection, intimate friendship, and sweeping vision. A profoundly religious
man, his beliefs were uniquely his own. He believed in free will and a free
society, writing in defense of regicide, divorce and writing itself. We'll
read his prose and his poetry, especially Paradise Lost, and discuss
the paradoxes in the work, the man, his era and the criticism he has evoked.
Course requirements: two midterms, final exam or term paper. Texts: Milton,
Complete Poems; Selected prose. (Majors only, Registration Period
1.)

328AEnglish Literature: Later 18th CenturyDaily 8:30Ellsworth

The late eighteenth century too often suffers in contrast to the
first part of the century: whereas the literature of the early years sparkles
with witty repartee, general observation suggests that the literature of the
later half drips with moral sentiment. A closer examination of the second
part of the century reveals, however, the presence of resistance to such sentimentalized
representations, and, indeed, a tendency to mock, if not satirize, most of
the contemporary literary conventions. In this class, we will be looking
at a variety of genres, themes, and authors to gain an idea of what was important
to the writers of that period and their sense of the role of fiction. Although
the idea of fiction as instructing and entertaining simultaneously is not
new to the eighteenth century, it is certainly central to understanding the
tensions present in the literature of the period. In order to explore these
tensions, we will take seriously the ideas of moral writing as a form of
entertainment and of wit as an important didactic tool. There will be a large
amount of reading in this class, and, in order to respond to as much of it
as possible, you will be asked to do a number of shorter assignments (weekly
reading journals, study questions, occasional reading quizzes, and short
research projects) in additino to a short mid-term paper and a final exam.
(Majors only, Registration Period 1.) Texts: Pothe, ed., Boswell's
London Journal, 1762-1763; Smollett, Humphrey Clinker; S. Johnson,
History of Rasselas; Burney, A Busy Day; Goldsmith, She
Stoops to Conquer; Vicar of Wakefield; Wollstonecraft, Mary
and the Wrongs of Woman; Walpole, The Castle of Otranto; Austen,
Northanger Abbey; Love and Friendship; Sheridan,
The Rivals; Sterne, A Sentimental Journey; photocopied course
packet.

329YARise of the English NovelMW 7-8:50 p.m.Dance

Study of the development of this major and popular modern literary
form in the eighteenth century. Readings of the best of the novelists who
founded the form, and some minor ones, from Defoe to Fielding, Richardson,
and Sterne, early Austen, and the gothic and other writers.(Evening Degree
students only, Registration Periods 1 & 2.)Texts: Daniel Defoe,
Moll Flanders; Samuel Richardson, Clarissa; Henry Fielding,
Joseph Andrews; Laurence Sterne, Tristram Shandy; Matthew
G. Lewis, The Monk; Jane Austen, Northanger Abbey.

331ARomantic Poetry ITTh 10:30-12:20McCracken

We will be reading the poetry (and some prose) of the first generation
of English Romantic poets-Blake, Wordsworth, Coleridge, and others-with attention
to visual contexts (especially to Blake's designs), politics (the French
Revolution), and other matters. But our main focus will be on reading poems.
There will be a lot of discussion in class, student presentations, short
papers and a longer one, and exams. (Majors only, Registration Period 1.)
Texts: Blake, Blake's "America: A Prophecy" and "Europe: A
Prophecy"; Blake's Poetry and Designs; Coleridge, The Portable
Coleridge; Wordsworth, William Wordsworth: Selected Poems.

332ARomantic Poetry IITTh 2:30-4:20Drake

We will be reading the second generation of romantic writers-Byron,
Keats, and the Shelleys-with a focus on changing concepts of the self and
of the nature of poetry. While our main focus will be on reading poems, we
will also be paying attention to the cultural and historical contexts. Assignments
will include short response papers, a longer paper, and an exam. (Majors
only, Registration Period 1.) Texts: Keats, Complete Poems;
Byron, Works; P. B. Shelley, Poetry and Prose; Mary Shelley,
Frankenstein.

333AEnglish Novel: Early & Middle 19th CenturyMW 9:30-11:20Blake

The development of the English novel in its "golden age." Attention
to themes, forms, and styles. The fiction of the era is known for its realism,
while authors also pushed the boundaries of the real in fiction. The amount
of detail on everyday life makes these works wonderful windows into the past.
Emphasis on placing the novels in their times, with background on the authors
to enhance historical understanding; also selected critical reading. Major
novels: Jane Austen's Pride and Prejudice and Persuasion. Charlotte
Brontë's Jane Eyre; Charles Dickens's Great Expectations;
along with shorter works: Lewis Carroll's Alice in Wonderland; and
prose selections by John Stuart Mill. Video showings of recent productions
of Austen and Brontë novels. Some lecture, more discussion. Class participation
expected. Take-home essay midterm, c. 6-8 pp. paper, in-class mainly essay
final. (Majors only, Registration Period 1.) Texts: Austen, Pride
and Prejudice; Persuasion; C. Brontë, Jane Eyre; Dickens,
Great Expectations; Pool, What Jane Austen Ate and Charles
Dickens Knew; Carroll, Alice in Wonderland; Mill, A Selection
of His Works.

333BEnglish Novel: Early & Middle 19th CenturyMW 12:30-2:20Blake

The development of the English novel in its "golden age." Attention
to themes, forms, and styles. The fiction of the era is known for its realism,
while authors also pushed the boundaries of the real in fiction. The amount
of detail on everyday life makes these works wonderful windows into the past.
Emphasis on placing the novels in their times, with background on the authors
to enhance historical understanding; also selected critical reading. Major
novels: Jane Austen's Pride and Prejudice and Persuasion. Charlotte
Brontë's Jane Eyre; Charles Dickens's Great Expectations;
along with shorter works: Lewis Carroll's Alice in Wonderland; and
prose selections by John Stuart Mill. Video showings of recent productions
of Austen and Brontë novels. Some lecture, more discussion. Class participation
expected. Take-home essay midterm, c. 6-8 pp. paper, in-class mainly essay
final. (Majors only, Registration Period 1.) Texts: Austen, Pride
and Prejudice; Persuasion; C. Brontë, Jane Eyre; Dickens,
Great Expectations; Pool, What Jane Austen Ate and Charles
Dickens Knew; Carroll, Alice in Wonderland; Mill, A Selection
of His Works.

334AEnglish Novel: Later 19th CenturyDaily 10:30Alexander

This course tries to suggest the richness and variety of the English
novel by studying the relations between content and form in six novels, ranging
from The Warden to The Secret Agent. Although considerable attention
will be paid to the social, historical, and philosophical backgrounds against
which the novels appeared, no attempt will be made to reduce the novels to
"reflections" of a ruling class or learned elite, or to an assemblage of
dirty tricks played by white Europeans against the rest of the human race.
On the contrary, it will be assumed that, as Kenneth Burke once wrote, the
law of the imagination is "when in Rome, do as the Greeks." (Majors only,
Registration Period 1.) Texts: Trollope, The Warden; Dickens,
Great Expectations; Eliot, Middlemarch; Hardy, Jude
the Obscure; Conrad, The Secret Agent; Wilde, Picture of Dorian
Gray.

335YAEnglish Literature: The Age of VictoriaMW 7-8:50 p.m.Dunn

Although the major texts will be focused on the Victorian writing
which characterized and also critiqued the age, we will give some attention
to parallels in painting and photography, for the age's visualization of itself
was never solely in its printed words. Also the reading will include a fictional
retrospect: Butler's The Way of All Flesh. (Evening Degree students
only, Registration Periods 1 & 2.) Texts: Abrams, et al., Norton
Anthology of English Literature, Vol. 2; Samuel Butler, The
Way of All Flesh.

336AEnglish Literature: The Early Modern PeriodTTh 12:30-2:20Kaplan

This quarter we will read novels, short stories, and poetry by English
and Irish writers during the modernist period. Our reading will include works
by Forster, Mansfield, Lawrence, Joyce, Woolf, Yeats, and Rhys. The class
format is lecture and discussion. Additionally, each student will participate
in an oral group project. (Majors only, Registration Period 1.) Texts:
E. M. Forster, Howard's End; Katherine Mansfield, Stories;
D. H. Lawrence, Complete Stories, Vol. 2; James Joyce, Portrait
of the Artist; Virginia Woolf, Mrs. Dalloway; W. B. Yeats, Selected
Poems; Jean Rhys, Voyage in the Dark.

337AThe Modern NovelMW 10:30-12:20Harris

"On or about December, 1910," writes Virginia Woolf, with only a
trace of irony, "human character changed." So also did the literature that
sought to express humanity's transformed character. This class will feature
an intensive exploration of eight major works of narrative prose written
on either side of the Atlantic between Woolf's epochal date and the late
1930s. Our investigation will proceed in four units, focusing in turn on
fictional autobiography, multiple perspectives, erotic love, and the racial
Other. As appropriate, we will incorporate music, visual art, and cinema
into our discussions. At all times we will be sensitive to the innovations
in form and content that distinguish this period's fiction, especially as
thes innovations foreground language, sexuality, and the interrelations of
gender, race, and class. Expect weekly journal writing, two essays, and much
conversation. (Majors only, Registration Period 1.) Texts: Stein,
The Autobiography of Alice B. Toklas; Joyce, A Portrait of
the Artist as a Young Man; Faulkner, Absalom, Absalom!;
Woolf, The Waves; Lawrence, Lady Chatterley's Lover;
Hurston, Their Eyes Were Watching God; Larsen, Quicksand
& Passing; Forster, A Passage to India; photocopied course
packet

338YAModern PoetryMW 7-8:50 p.m.Holberg

An examination of "modernisms"--from the canonical to the less so.
We will begin by investigating what Modernists themselves contructed as the
shift from Victorian sensibilities to "modern" ones and explore the ideologies
which inform this construction. We will end by looking at some of the heirs
of modernism. Throughout we will look at the claims modern writers made
for their works, for their era, and for poetry itself. Expect a substantial
amount of reading and intensive class discussions. Weekly response papers,
poetry exercises, quarter-long critical edition project. (Evening Degree
students only, Registration Periods 1 & 2.) Texts: Ellman &
O'Clair, eds., The Norton Anthology of Modern Poetry, 2nd ed.; Mary
Oliver, A Poetry Handbook; recommended: Lewis
Turco, The New Book of Forms: A Handbook of Poetics

339AEnglish Literature: Contemporary EnglandMW 11:30-1:20Chait

The New Face of Late 20th-Century British Writing. Since the gradual
break-up of the British Empire, British literature has taken on a decidedly
different face. Writers of color from other countries, as well as Anglos
from the ex-colonies, dominate its contemporary literary scene. Some of these
writesr arrived on British shores for political, educational or economic
reasons,; some are second generation "Britons" born of "resident alien" parents;
whil yet others are Anglos forever changed by their experiences in the colonies.
Mosly educated within the British system either in England or "at home,"
they reinvigorated British writing by becoming "more Anglo than the Anglos"
or else by investing their English writing with colonial color and verve.
In this course, we shall examine the political, aesthetic and socio-economic
features that they share in common. I have selected only five required texts
so that we can spend as much time as possible in discussion. (Majors only,
Registration Period 1.) Texts: V. S. Naipaul, The Mimic Men;
Kazuo Ishiguro, The Remains of the Day; Doris Lessing, The Fifth
Child; Caryl Phillips, The Nature of Blood; Hanif Kureishi, The
Buddha of Suburbia.

This course will examine a variety of recent and contemporary American
texts: novels (including a lot of science fiction), essays, visual art, and
films. The larger aim of the class will be to develop a sense of what it
means for our culture to be called "postmodern." Two papers, and one in-class
presentation. (Evening Degree students only, Registration Periods 1 &
2.)Texts: Paul Auster, City of Glass; Kathy Acker, Empire
of the Senseless; William Burroughs, The Western Lands; Xam Cartier,
Muse-Echo Blues; Andy Warhol, The Philosophy of Andy Warhol;
Steve Erickson, Arc d'X; Philip K. Dick, The Three Stigmata
of Palmer Eldritch, Samuel R. Delany, Trouble on Triton; Octavia
Butler, Bloodchild and Other Stories.

343AContemporary PoetryTTh 12:30-2:20Donahue

This course offers a survey of contemporary American poetry in avant
garde traditions from the 1970s to the present. Familiarity with the poetry
of the Beats, Black Mountain, and the New York School is recommended but
not required. Topics for discussion will include the relation of poetry to
magic and the occult; to painting, movies and music, to ritual forms, nonsense,
and "the unspeakable visions of the individual." Authors to be discussed
include Susan Howe, Nathaniel Mackey, Alice Notley, Michael Palmer, Gustaf
Sobin, and John Yau. Texts: Schwartz, Primary Trouble; Foster,
Postmodern Poetry; Allen & Butterick, The Postmoderns.
(Majors only, Registration Period 1.)

344A20th-Century Dramatic LiteratureTTh 10:30-12:20Streitberger

Modern and contemporary plays by such writers as Shaw, Synge, O'Casey,
O'Neill, Yeats, Eliot, Beckett, Pinter, and Albee. (Majors only, Registration
Period 1.) Texts: Worth, ed., The Harcourt Brace Anthology of Drama,
2nd ed.; Ariel Dorfman, Death and the Maiden; Howard Backen,
Hotel Nightfall and Words to the Free.

350ATraditions in American FictionMW 1:30-3:20Abrams

A sampling of significant American fiction, with attention to extreme
and dramatic differences in literary voice, and featuring as comprehensive
a look as possible at the ranges of theme and technique that have engaged
American authors over the years. Students should come prepared to read texts
closely and to deliberate on the reciprocity between fiction and the socio-political
context it both derives from and helps to form.(Majors only, Registration
Period 1.) Texts: Nathaniel Hawthorne, The Portable Hawthorne;
Rebecca Harding Davis, Life in the Iron Mills and Other Stories;
Mark Twain, Adventures of Huckleberry Finn; Stephen Crane, The
Portable Stephen Crane; Kate Chopin, The Awakening and Selected Stories;
F. Scott Fitzgerald, The Great Gatsby; Ralph Ellison, Invisible
Man.

354AAmerican Literature: The Early Modern PeriodDaily 8:30J. Griffith

We'll read and discuss an assortment of novels and short stories
by American authors writing in the first half of the twentieth century.
Students will be expected to attend class regularly, keep up with reading
assignments, and take part in open discussion. Written work will consist
of a number of brief in-class essays, done in response to study questions
handed out in advance. (Majors only, Registration Period 1.) Texts:
William Faulkner, Go Down, Moses; Zora Neale Hurston, Their
Eyes Were Watching God; Ernest Hemingway, For Whom the Bell Tolls;
Richard Wright, Uncle Tom's Children; John Steinbeck, The
Long Valley; Sherwood Anderson, Winesburg, Ohio; Eudora Welty,
Thirteen Stories by Eudora Welty; Sinclair Lewis, Babbit.

355A American Literature: Contemporary AmericaTTh 10:30-12:20Long

This course will examine the work of six American poets writing after
World War II who are explicitly concerned with the reciprocity of poetry and
place. We will begin by reading two major poets writing in the decades following
World War II: Elizabeth Bishop and William Carlos Williams. We will then
turn our attention to four contemporary poets: Robert Hass, Adrienne Rich,
Denise Levertov and Gary Snyder. One premise of the course is that each book
of poems exemplifies a speculative concern with the physical, personal, historical
and spiritual dimensions of place. But rather than the place of sentimental
attachments, the place of literal topographies, the poems we will read share
a deeper (and less predictable) commitment to the place of poetry. Texts:
Elizabeth Bishop, Collected Poems; William Carlos Williams, Paterson;
Robert Hass, Field Guide; Adrienne Rich, An Atlas of the Difficult
World; Denise Levertov, Evening Train; Gary Snyder, Mountains
and Rivers Without End.(Majors only, Registration Period 1.) --Added
Nov. 4, 1997; sln: 8079--

356AClassic American PoetryMW 12:30-2:20Crane

In this course, we will study Whitman, Dickinson, Stevens and Williams
in relation to each other and to their respective cultural and political
contexts. (Majors only, Registration Period 1.) Texts: Wallace Stevens,
The Collected Poems; William Carlos Williams, Selected Poems;
Walt Whitman, Leaves of Grass; Emily Dickinson, Final Harvest.

364ALiterature and MedicineTTh 10:30-12:20van den Berg

--Cancelled, Nov. 4, 1997--

368AWomen WritersMW 2:30-4:20Simpson

Asian American Women's Immigrant Narratives. This course
examines the range of immigrant narratives produced by today's current women
writers, with a particular focus on younger writers. Emphasis is on what
these narratives have to say about the effects of gender and class on Asian
immigrants' experiences in America. We will also ask how immigrant narratives
by Asian American women comment on various historical crises or problems
in American culture. Students should be prepared to participate in class
discussions, some group work and occasional in-class writing. Two in-class
exams and a final paper required. Texts: Patti Kim, A Cab Called
Reliable: A Novel; Sky Lee, Disappearing Moon Café; Lan
Cao, Monkey Bridge; Bharati Mukherjee, Jasmine; Gish Jen, Typical
American.

370AEnglish Language StudyMW 10:30-12:20Wennerstrom

This survey course provides a broad introduction to the study of
the English language. We will cover a wide variety of topics including the
structure and function of language, language acquisition, discourse analysis,
and social issues surrounding language. By the end of the quarter you should
have a basic awareness of the major issues of concern to linguists in society
today and a healthy respect for the complex and dynamic nature of language.
Texts: Clark, Eschholz, & Rosa, eds., Language:
Introductory Readings; Ohio State Univ., The Language Files (6th
ed.).

370BEnglish Language StudyTTh 3:30-5:20Dillon

This course is an introduction to the scientific study of language.
Drawing most of the examples from English, it surveys the major concepts
of phonetics/phonology, syntax, semantics, pragmatics, and sociolinguistics
as they have been developed during the twentieth century. Written work will
include exercises from the text, quizzes, a mid-term and a final. Texts:
Pinker, The Language Instinct; Ohio State Univ., Language
Files.

371AEnglish SyntaxMW 1:30-3:20Wennerstrom

This course covers the basics of standard English grammar. We will
take a descriptive approach to understanding the main structures of sentence-level
grammar with an eye for how present-day rules, standards, and attitudes have
developed. Assuming that many class members are likely to be teaching English
in the future, we will also focus on grammar in writing, analyzing samples
of native speaker and second language speaker writing and developing activities
for those whose goal it is to learn Standard American English. The course
assumes no previous study of grammar. Prerequisite: ENGL 370 or equivalent.
Text: Barry, English Grammar: Language as Human Behavior.

381A Advanced Expository WritingMW 10:30-11:50Holberg

Discourses of Technology. In this course, we will focus on
the multiplicity of writing (on-line, fictional and non-fictional) surrounding
technology. In particular, we will examine technologies effect on community,
on notions of utopia, and on entertainment. Coursework will be 3 papers which
go through several drafts along with smaller writing assignments and research
projects. Active class participation is expected. Ability with computers
is not a prerequisite, but willingness to use email frequently and to learn
some HTML within the course is important. Texts: Couglas Coupland,
Microserfs; Bill Gates, The Road Ahead; Neal Stephenson,
Snow Crash; Wired magazine, January 1998 issue; photocopied
course packet. Majors only, Registration Period 1.

381BAdvanced Expository WritingTTh 9:30-10:50Branch

This section of advanced expository writing will focus on moments
of cultural contact and controversy throughout American history, using first-hand
accounts and documents relating to the Puritan-Indian encounter, slavery
as an issue in the Declaration of Independence, and the development of the
labor movement (for example). Students will examine issues of rhetoric and
argument in relation to these documents and accounts. In addition to writing
several papers, students will be required to develop and annotate a selection
of cultural archives regarding an issue of regional, personal, and/or cultural
significance. Texts: Herzberg & Bizzell, eds., Negotiating
Difference: Cultural Case Studies for Composition.

383AIntermediate Verse WritingMW 10:30-11:50Gomez

This class will be run as a creative writing workshop. Significant
time will be spent on reading poems-and observing their rhetorical elements
and design. The requirements of the course involve writing and critiquing
poems as well as development of an individualized reading project. Prerequisite:
ENGL 283 or equivalent. Add codes in Creative
Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Text: Rothenberg
& Jovis, Poems for the Millennium.

383BIntermediate Verse WritingTTh 3:30-4:50Angel

This class will be a workshop structured around group reading and
critiquing of your poems. We will do some work on gaining control in terms
of voice, image, rhythm and cadence. Some in-class writing, recitation of
a poem, attendance of a live reading and a final portfolio are required. Prerequisite:
ENGL 283 or equivalent. Add codes in Creative
Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Text:
Buckley & Merrill, What Will Suffice: Contemporary American Poets
on the Art of Poetry

384AIntermediate Short Story WritingMW 11:30-12:50Wogan

This class continues and extends the ongoing process of writing and
close reading of short stories, designed as a bridge between introductory
and advanced classes. Prerequisite: ENGL 284 or equivalent. Add codes in Creative Writing office, B-25
PDL, (206) 543-9865, open 11-3 daily. Text: Charters, ed., The
Story and Its Writer

384UIntermediate Short Story WritingWednesday 4:30-7:10 p.m.Grossman

Ongoing practice in the writing and close reading of short stories,
designed as a bridge between the rudimentaries of fiction writing you learned
in 284 and the more complex issues raised in 484. The course format is a
writing workshop and focuses on the process of writing and revision of the
short story form. Emphasis will be on the development of continuity with
the elements of fiction: character, tone, points of view, dialogue, setting,
plot, conflict, scene and narration. Class participation will include (1)
lecture and discussion of contemporary writers and their craft; (2) in-class
writing exercises; (3) written critiques of participants' creative works,
and (4) publication concerns, including presentations of literary journals
and magazines and lectures on publication procedures. Prerequisite:
284 or equivalent; further informatioadd codes in Creative Writing office,
B-25 PDL (open 11-3 daily). Text: Ann Charters, ed., The Story
and Its Writer.